Untitled - Kulturserver

PREHAJANJA
TRANSITIONS
Branko Cvetkovič, Tomaž Gregorič, Bojan Salaj
MESTNI MUZEJ
produkcija
galerija Photon
25. oktober-10. november
Razstava Prehajanja opozarja na določene tendence oz. ‘smer’ na področju
t. i. avtorske fotografije, ki jo prepoznamo po distancirani, »hladni« objektivnosti
upodobljenega. Izbrane avtorje na prvi pogled druži zanimanje za »arhitekturno
fotografijo«, čeprav se ta sintagma pri natančnejšem pogledu hitro pokaže kot zgolj
deskriptivno pomagalo. Praviloma gre za barvno fotografijo velikih formatov, ki jo
formalno odlikuje izostrenost detajlov ter kompozicijska in svetlobno-koloristična
usklajenost. Tovrstni estetski pristop v dokumentarni fotografiji običajno
pripisujemo avtorjem t. i. »post-düsseldorfske« šole, ki so že nekaj časa močno
prisotni v sodobni fotografiji, kot so npr. Andreas Gursky, Candida Höfer ali Thomas
Struth. Izbrani avtorji v predstavljenih serijah tak pristop pri nas najopazneje gojijo.
TOMAŽ GREGORIČ vse od leta 1997 fokusira motive iz obrobja urbanega okolja.
To so lahko podobe predmestnih naselij, posameznih stavb, urejenih socialnih
kompleksov ali zgolj nastajajoče urbane infrastrukture. Njegov pogled pa zajame
tudi tisto, kar je »na drugi strani«; tam, kjer izginja prehod med »naseljem« in
»naravo«, kjer se kultura umakne organskemu redu. Številni tovrstni motivi so
zabeleženi v še zmeraj nastajajoči seriji Periferije.
BRANKO CVETKOVIČ prav tako že dolgo vztraja pri standardu stroge
objektivnosti upodobljenega, ki jo s tehničnimi pomagali napravi za presežno
vrednost svoje fotografije. Uporablja postopek kadriranja, ki omogoča pogled
ne samo na objekt in tisto, kar je na njem, temveč tudi na njegovo okolico, na
detajle te okolice. Predvsem ga zanima odkrivanje sledov polpreteklega obdobja
v/na vsem znanih zgradbah urbane arhitekture prestolnice. Fotografski dokumenti
prostorske realnosti pri Cvetkoviču nastajajo pod nazivom serije En Face (podobe
pročelij).
BOJAN SALAJ je ciklus Interijerji zastavil pred štirimi leti, do sedaj pa je
fotografsko »evidentiral« prostore nekaterih kulturnih institucij, prostore
cerkvenega obredja (npr. serija »Spovednice«) in reprezentativne prostore oblasti.
Ti kažejo objektivno, »golo« podobo, delujejo prazno in hladno, kar ustvari izrazit
potujitveni učinek. Zato pa toliko bolj napeljujejo na premislek o simbolnem
pomenu upodobljenih prostorov, o njihovih družbenih, kulturnih oziroma ideoloških
funkcijah.
The Transitions exhibition draws attention to particular
tendencies or ‘course’ in the field of so-called art photography,
which can be identified by distant ‘cold’ objectivity of
depictions. The authors selected seem to share a common
interest in ‘architecture photography’, though after taking
a closer look, this phrase proves to be merely a sort of
descriptive tool. Usually it is large format colour photography,
formally distinguished by sharp details, together with
compositional and light-colouristic harmony. Abroad, such
aesthetics are usually attributed to the ‘Post Düsseldorf School
of Photography’ and such artists as Andreas Gursky, Candida
Höfer and Thomas Struth, who have exerted a strong presence
at large exhibitions of contemporary photography over recent
years. In Slovenia such aesthetics are most evident in the
photographers profiled below.
Tomaž Gregorič has been focusing on motifs drawn from urban
margins since 1997. These encompass images of suburban
developments, individual buildings together with blocks and
housing estates as well as emergent urban infrastructure. His
eyes also capture that which is ‘beyond’ – the blurred fringe
between ‘settlement’ and ‘nature’ where the townscape gives
way to a more organic order. Various such motifs are captured
in Outskirts, a series-in-progress.
Branko Cvetkovič has long maintained a standard of strong
objectivity in his depictions, adding value to his photography
through technical refinement. He uses a framing procedure
which facilitates not only a full view of the object, but also its
surroundings and details. Cvetkovič is particularly interested in
unveiling the traces of recent history in widely known buildings
in the townscape of the Slovenian capital. This photographic
documentation of spatial reality has been created in the
context of the series entitled En Face (images of façades).
Bojan Salaj, who embarked on his Interiors cycle ‘only’ four
years ago, has thus far ‘recorded’ elements of the premises
of a number of secular and religious institutions (for example
a series of Confessional Boxes). These photographs provide
‘naked’ objective images of well-known architecture that
appears empty and cold in Selaj’s photos, creating a strong
alienating effect. For this very same reason they encourage
consideration as to the symbolic meaning of the places
depicted, and their social, cultural and ideological functions.
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